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180g limited edition on high-definition premium vinyl for super fidelity Made during the first years of the LP era, Harry James in Hi-Fi (1955) comprises some of the greatest hits of the Harry James Orchestra - a unit that by that time had been working unceasingly with few changes since 1939. Recorded in Los Angeles in July of 1955, among the instrumental figures present on the album were trombonist Juan Tizol,who had made a name for himself as part of the Duke Ellington orchestra, and alto saxophonist Willie Smith who was a major force in the swing era. Also present on some of the tracks was singer Helen Forrest, another veteran of the orchestra and other swing bands, and popularly known as "The Voice of the Name Bands." The program was a mix of the orchestra's previously recorded hits, re- recorded here to take advantage of the recently developed Hi-Fidelity recording techniques. The LP was a best seller followed by a sequel, More Harry James In Hi-FI.

25th anniversary release of the album from 1998 as expanded special limited edition. It is the eighth Dub Syndicate studio album mixed by Adrian Sherwood. Originally released as catalogue number Lion & Roots 002 in 1998 on Style Scott"s own label here"s the expanded and remastered collector"s limited edition as 2LP-set including six additional tracks not available on the original vinyl release and also as 18-track CD release, with the booklet including excerpts from an unpublished interview. Main vocal contributor is the legendary artist Big Youth plus Little David courtesy J.R. Productions (Junior Reid"s camp), backing vocals by Skip McDonald and Style Scott"s inimitable laughter. The basic tracks were recorded in Jamaica, with some of the pals from the Roots Radics days (i.e. Flabba Holt, Steely Johnson) at Studio 2000 (Steely & Clevie"s studio) and the legendary Tuff Gong Recording Studio, followed by overdubbing in the USA at Greenpoint Studios (Bill Laswell"s studio) and Playroom Studios in New York, with additional overdub and final mix at On-U Sound (London) by Adrian Sherwood.

2023 Repress

On the West Coast, gangsta rap held sway in hip-hop as the 21st century began. The alternative and conscious rap music of the early-to-mid-90s had all but faded into the underground. The scene was set for a comeback, perhaps as a backlash to the perceived violence and misogyny of gangsta rap's content. Leading the resurgence of alternative hip-hop were groups like Jurassic 5, and recentsignees to Capitol Records, a West coast trio that had been building steam underground since the early 90s called Dilated Peoples. Anticipation was high for the release of the debut album from Evidence, Rakaa, and DJ Babu. (Of the influential turntablist collective Beat Junkies.) When The Platform arrived in May of 2000 it was met with critical and underground acclaim, as well as affording Dilated Peoples their first Billboard chartings. It featured a back-to-basics sound with a heavy debt to the old-school hip-hop ethos, the kind of sound that harkened back to the early days of legends like De La Soul & A Tribe Called Quest. Hits like "No Retreat" and "The Platform" were bolstered by Evidence & Rakaa's subtle, abstract wit, and swift, adroit wordplay, while DJ Babu provided production chops and dextrous scratches. On The Platform the trio were joined by the likes of B-Real, Tha Alkoholiks, Everlast, Planet Asia, and many more providing guest vocals, while boasting guest production from The Alchemist & Kut Masta Kurt, among others. Since its 2000 release this influential record, which heralded the return of alternative hip-hop, has never seen a vinyl reissue. With that, Get On Down-always on top of giving the greatest hip-hop albums their due-is proud to present this re-release of The Platform. The rhymes are still fresh, the production is still pristine, and the album is now back on vinyl for the first time in 17 years.

First color pressing. This debut ACL performance on August 9, 2003, captures songs from Neko Case’s three seminal solo releases at the time, combining elements of country, gospel and punk for a very unique sound. That’s why pundits often find the music hard to classify. Which is a good thing. Her voice has been described as lush, torchy, melancholic - even scary (someone once wrote that “she sings like Patsy Cline’s ghost”). She certainly doesn’t sound like anything else on today’s hit parade. Neko began her career as a drummer in a punk band, but it wasn’t long before she started experimenting with songwriting and singing. She also continues to perform as a member of The New Pornographers, but her solo work is where her songwriting skills shine most. As she herself says, “I want to write songs that are timeless...maybe just something more like a novel than a short story.” After the show, Neko took the time to write the ACL staff to thank everybody for making her, her band and friends feel so welcome. “I feel very proud of how the show turned out...It’s so great to find out that something you admire so much is run by good people. Be proud! You kick ass!” You, too, Neko… – Terry Lickona (producer Austin City Limits)

JD McPherson presents what he calls "A truly romantic garage rock record". Undivided Heart & Soul produced by Dan Molad (Lucius) & McPherson, and developed largely in the studio (that studio being the historic RCA Studio B in Nashville), carries a sense of immediacy and irreverence. Putting the hands of Dan Molad on the wheel of the record ensured that the music didn't take too many expected turns. "Having toured with Lucius and befriended Dan, I knew he was the guy to push my buttons and challenge me to try new things. He's a tireless worker. He's constantly tinkering away on something... and music just falls out of him." The vintage recording equipment and instruments still housed in RCA Studio B greatly informed the direction of the record. "Each night, at the end of tracking, someone would invariably say, "You wanna put vibes on this?", speaking of the old RCA Vibraphone. I mean, you can hear THAT vibraphone on Roy Orbison's "Crying"... we couldn't keep our hands off of it. It guided some of the songs into some strange and wonderful places. "Lucky Penny" took such a cool turn once Ray (Jacildo, keys) added some to it. We wrote several songs on the piano that Floyd Cramer played "Last Date" on. We were soaking up so much of the phantom energy in that room, it led to some incredible sonic territory." "Most folks know

Although they were not Ahmad Jamal’s first recordings, the 1958 Pershing and Spotlite performances marked the beginning of his success. The original album At the Pershing/ But Not for Me, taped at the Pershing Lounge in Chicago on January 16 & 17, 1958, included eight of the 43 tunes played by the trio, which were carefully selected by the pianist himself. This splendid formation would last until 1962, for on August 11 of that year bassist Israel Crosby died of a heart attack. To the eight tunes on the original album, four extra tunes also recorded at the Pershing have been added here. 180-GRAM COLORED RED VINYL - THE COMPLETE ALBUM + 4 BONUS TRACKS

180-gram 45 RPM double LP
Mastered by Ryan K. Smith at Sterling Sound from the original analogue master tape
Pressed at Quality Record Pressings and RTI
Gatefold old-style "tip-on" jacket by Stoughton Printing

In The Right Place is the sixth, and biggest-selling album of the late iconic music legend, six-time Grammy-winner, and Rock And Roll Hall of Fame inductee, Dr. John. Dr. John, the stage name of Malcolm John Rebennack, Jr., was one of the most original, distinctive and influential voices to ever come out of New Orleans. His career spanned six decades as a songwriter, composer, producer and performer. His unique blend of music carried his hometown of New Orleans at its heart.

His colorful musical career began in the 1950s when he wrote and played guitar on some of the greatest records to come out of the Crescent City, including recordings by Professor Longhair, Art Neville, Joe Tex, Frankie Ford and Allen Toussaint. Dr. John headed west in the 1960s, where he continued to be in demand as a session musician, playing keyboards on records by Sonny and Cher, Van Morrison, Aretha Franklin and The Rolling Stones' Exile On Main St. During that time he launched his solo career, developing the charismatic persona of Dr. John The Nite Tripper. A legend was born with his breakthrough 1968 album Gris-Gris, which introduced to the world his unique blend of voodoo mysticism, funk, rhythm & blues, psychedelic rock and Creole roots.

1973's In The Right Place contained the chart hits "Right Place Wrong Time" and "Such A Night." In addition to his six Grammy wins (1989, 1992, 1996, 2000, 2008 and 2013), he has received six other Grammy nominations over the years. In 2007 he was nominated for "Sippiana Hericane," his Hurricane Katrina benefit disc.

AllMusic says that with In The Right Place, Dr. John struck mainstream paydirt, especially with his hit single "Right Place Wrong Time" bounding up the charts and initiating listeners into New Orleans-style rock (the song hit No. 9 in 1973 on the Billboard Hot 100 songs chart).

Also including Allen Toussaint's "Life," and a funky little number entitled "Traveling Mood," which shows off the good doctor's fine piano styling, and with able help from the Meters as backup group, In the Right Place is still a fine collection to own.

With mastering by Sterling Sound's Ryan K. Smith direct from the original tape, and two sides of premium 180-gram vinyl (pressed by the best — Quality Record Pressings and RTI), our 45 RPM edition of In The Right Place emphasizes Dr. John's gravelly bayou drawl and sonically creates the hoodoo-infused stage persona he brought to his performances.

After Hurricane Katrina Dr. John immediately stepped up to the plate with generous relief fund-raising concerts and recordings. In 2007 he was inducted into the Louisiana Music Hall of Fame and Blues Hall of Fame. In 2008 he released City That Care Forgot, winning him a Grammy for Best Contemporary Blues Album.

His numerous other awards included the Louie Award from the Louis Armstrong House Museum and the Jazz Foundation of America's Hank Jones Award, presented in October 2016 at "A Great Night in Harlem" which pleged $1 million to help musicians recovering from the 2016 Louisiana flood.

We are so pleased to bring you this deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic Series) reissue of the timeless Dr. John classic In The Right Place. Cue it up and prepare to be transported.

After touring the world's Techno and Goths clubs intensively, Die Selektion are back with their unique blend of Synth- Pop and Electronic Body Music. Heavyhearted but hopeful trumpet melodies, German lyrics that make you question your past and future once again, synthesizer sounds in the great tradition of '80s Wave and Pop, combined with hard-hitting drum machines - this forms the base of their self- proclaimed Prosecco Wave world. Their new album "Zeuge aus Licht" features 9 hits to live, love and laugh to, and makes you forget your everyday worries.

Die Selektion sat down together in a new line-up consisting of all three founding members Gillian, Rief and Rieger, as well as Savenberg, who joined in 2013.

The outcome of this mesmerising gathering is a supersonic experience for body, heart and soul. The new songs expand the sound of the band with an almost casual, elegant diversity. Every single component shines and an understanding of what makes pop really pop comes through, adding ironic glitter to the black nihilism of Dark Wave. With "Zeuge aus Licht", Die Selektion opens a new door in their fluid band set- up. And we should all be excited to find out what's hiding behind it.

George Coleman (born March 8, 1935) is an American jazz saxophonist best known for his work with Miles Davis and Herbie Hancock in the 1960s. Coleman was born in Memphis, Tennessee and learned to play the alto saxophone in his teens. After his work with Ray Charles, George started working with B.B. King in 1953 and switched to playing the tenor saxophone.

George Coleman was a member of legendary outfits such as Max Roach’s quintet, The Slide Hampton Octet, Miles Davis’ Quintet and The Chet Baker Quintet. The list of his collaborations is impressive to say the least, Mr. Coleman recorded and performed with greats such as Freddie Hubbard, Herbie Hancock, Charles Mingus, Ahmad Jamal, Idris Muhammad, Pharoah Sanders, Ornette Coleman, Melvin Sparks, ArtBlakey…and many others.

Coleman was named an NEA Jazz Master, was added to the Memphis Music Hall of Fame in 2015, and received a brass note on the Beale Street Brass Notes Walk of Fame. George Coleman’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Atlantic, Prestige, Strata-East, Muse, Verve and Impulse!

On the album we are proudly presenting you today: Amsterdam After Dark (Recorded in 1978 at the famous NY Sound Ideas Studio and released on Timeless Records in 1979) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album.

The all-star line-up includes Sam Jones (Dizzy Gillespie, Duke Ellington, Ben Webster) on bass, Billy Higgins (Donald Byrd, Thelonious Monk, John Coltrane) on drums and Hilton Ruiz (Roy Brooks, Rashaan Roland Kirk, Sonny Rollins) on piano. Most players featured here were also part of the legendary ‘Eastern Rebellion’ collective responsible for releasing multiple ground-breaking albums over several decades.

Amsterdam After Dark shows off George Coleman’s mastery of the sax, his brilliant vintage techniques and deep soulful tones. Coleman plays from the heart and is on top of his game. Expect both original compositions as well as standards, beautiful ballads with elegant (yet fierce) solos alternating between the instruments, growling blues-oriented themes…this is a contemporary sounding Hard Bop & Post-bop crossover album and a must have for any self-respecting jazz fan or collector!

Black Truffle is thrilled to present a previously unheard performance by rudra veena master Ustad Zia Mohiuddin Dagar, recorded in the North Indian city of Vrindavan at the Druhpad Samaroh festival in 1982. Z.M. Dagar was a nineteenth-generation descendant of the Dagar family of musicians, famed for their profoundly meditative approach to the tradition of Hindustani court music. Perhaps the most revered members of the family were the brothers Mohinuddin and Aminuddin Dagar, who played a key role in reawakening interest in dhrupad in the mid-20th century. The great exponents of the tradition from whom Z.M. Dagar descended were all singers, and dhrupad is essentially vocal music. However, as Z.M. Dagar explained, the veena family of instruments plays an important role in the education and practice of dhrupad singers, especially as an aid to mastering the fine microtonal nuances of pitch essential to the genre. Introduced as a child by his father to the rudra veena, a large and low-pitched veena amplified by two enormous gourds, Z.M. Dagar became the first modern dhrupad musician to perform with it as an instrumental soloist, giving his first recital at the age of 16. Devoted to the instrument throughout his life, he made innovations to its design and materials, as well as introducing novel techniques (such as playing without the use of the traditional wire plectrum, resulting in the remarkable warmth of his tone). In the great Dagar family tradition, his approach to the various ragas that make up the dhrupad repertoire was stately, slow, and considered, with a great emphasis on the alap, the heavily improvised exposition section. True to form, in this recording of Dagar performing the night raga Yaman Kalyan, the alap section stretches out to more than forty minutes of slow-motion bliss, a frozen tanpura drone hovering above Dagar’s gracefully bent notes and elegantly twisting phrases. In the alap’s first half, Dagar’s figures are so intently focused on the lower reaches of the rudra veena’s range that they register more as shudders and moans than melodic patterns. As the performance continues, he slowly climbs in pitch, though continuing with the same intent focus on the articulation of single notes and subtle microtonal variations. This leads to the jod section of the performance, which, though still accompanied only by the tanpura, gradually takes on a more rhythmic character. Developing almost imperceptibly over the course of nearly thirty minutes, the jod moves from the stillness of the opening alap to a rapid pulse that announces the closing section of the piece, where Dagar is joined by Shrikant Mishra on the pakhawaj (a double headed hand drum). Where many performers use the final section of the raga as an exercise in unrestrained virtuosity, Dagar and Mishra subtly weave a web of finely shifting accents and hypnotic melodic variations, bringing the recording to a fitting conclusion while remaining within the meditative space occupied by the performance as a whole. Adorned with beautiful archival photographs of Dagar taken by Swedish percussion legend Bengt Berger and accompanied by detailed notes from Bradford Bailey, Vrindavan 1982 is a stunning document of music unmatched in its patient focus and mysterious emotional depth. .

Echoes, Spaces, Lines collects Trans-Millenia Consort, Plot Zero, and Spectre, the first three albums by the late West Coast composer, healer, and medium Pauline Anna Strom. Exploring all corners of the multiverse through transpersonal form and freedom, Strom’s first three albums share a singular sensibility, different streams flowing from the same oracular font. Echoes, Spaces, Lines establishes Strom’s rightful place in the canon of great synthesists. Restored and mixed from the original reels by Marta Salogni, newly remastered, and adding Oceans of Tears, a fully realized but previously unreleased album exclusive to this box set, these are the first official reissues and the definitive encapsulation of Pauline Anna Strom’s prolific and visionary early work. These four-disc LP and CD box sets include 12 and 16 page booklet containing liner notes, an unearthed interview with Strom, and unseen ephemera.

Daneshevskaya (Dawn-eh-shev-sky-uh), the project of New York's Anna Beckerman, writes songs steeped in the folklore of her own personal history. Her artist (and real middle) name comes from her Russian-Jewish great-grandmother, a person whose presence she has always felt although their paths never crossed in real life. Beckerman grew up in a musical family; her father is a music professor, her mother studied opera and her own songs often feel spiritual, less so by any religious connotation and more as a hymn-like, archival record of Beckerman's own past, present and future. Her first release on Winspear, Long is the Tunnel, contemplates how the people you meet impact the pathway you travel. Through songs like the poignant "Somewhere in the Middle," the lilting "Challenger Deep" and the surreal "Big Bird," the EP paints a distinctive collage between traditional songwriting and modern turns of phrase that remain spellbound in the unadulterated luster of self discovery. The seven songs read as both patchwork memories/diary entries and elegies to those in her life. Co-produced by Ruben Radlauer and Hayden Ticehurst of Model/Actriz and Artur Szerejko, the final versions of these initial demos also saw contributions from Lewis Evans of Black Country, New Road (saxophone), Maddy Leshner (keys) and Finnegan Shanahan (violin), adding to the gleaming instrumentation that makes each song sound like a world within itself. Long is the Tunnel is filled with hyperreal imagery that denotes a form of escapism: two of the songs reference birds, which Beckerman describes as about being transfixed by something you can't take your eyes o‑ while also being able to leave at will. Long is the Tunnel prolongs this feeling of being completely immersed: by desire, emotion, and fantasy, though the somber melancholy of her love songs are often more manifestations to her internal self than anyone else.

Daneshevskaya (Dawn-eh-shev-sky-uh), the project of New York's Anna Beckerman, writes songs steeped in the folklore of her own personal history. Her artist (and real middle) name comes from her Russian-Jewish great-grandmother, a person whose presence she has always felt although their paths never crossed in real life. Beckerman grew up in a musical family; her father is a music professor, her mother studied opera and her own songs often feel spiritual, less so by any religious connotation and more as a hymn-like, archival record of Beckerman's own past, present and future. Her first release on Winspear, Long is the Tunnel, contemplates how the people you meet impact the pathway you travel. Through songs like the poignant "Somewhere in the Middle," the lilting "Challenger Deep" and the surreal "Big Bird," the EP paints a distinctive collage between traditional songwriting and modern turns of phrase that remain spellbound in the unadulterated luster of self discovery. The seven songs read as both patchwork memories/diary entries and elegies to those in her life. Co-produced by Ruben Radlauer and Hayden Ticehurst of Model/Actriz and Artur Szerejko, the final versions of these initial demos also saw contributions from Lewis Evans of Black Country, New Road (saxophone), Maddy Leshner (keys) and Finnegan Shanahan (violin), adding to the gleaming instrumentation that makes each song sound like a world within itself. Long is the Tunnel is filled with hyperreal imagery that denotes a form of escapism: two of the songs reference birds, which Beckerman describes as about being transfixed by something you can't take your eyes o‑ while also being able to leave at will. Long is the Tunnel prolongs this feeling of being completely immersed: by desire, emotion, and fantasy, though the somber melancholy of her love songs are often more manifestations to her internal self than anyone else.

Daneshevskaya (Dawn-eh-shev-sky-uh), the project of New York's Anna Beckerman, writes songs steeped in the folklore of her own personal history. Her artist (and real middle) name comes from her Russian-Jewish great-grandmother, a person whose presence she has always felt although their paths never crossed in real life. Beckerman grew up in a musical family; her father is a music professor, her mother studied opera and her own songs often feel spiritual, less so by any religious connotation and more as a hymn-like, archival record of Beckerman's own past, present and future. Her first release on Winspear, Long is the Tunnel, contemplates how the people you meet impact the pathway you travel. Through songs like the poignant "Somewhere in the Middle," the lilting "Challenger Deep" and the surreal "Big Bird," the EP paints a distinctive collage between traditional songwriting and modern turns of phrase that remain spellbound in the unadulterated luster of self discovery. The seven songs read as both patchwork memories/diary entries and elegies to those in her life. Co-produced by Ruben Radlauer and Hayden Ticehurst of Model/Actriz and Artur Szerejko, the final versions of these initial demos also saw contributions from Lewis Evans of Black Country, New Road (saxophone), Maddy Leshner (keys) and Finnegan Shanahan (violin), adding to the gleaming instrumentation that makes each song sound like a world within itself. Long is the Tunnel is filled with hyperreal imagery that denotes a form of escapism: two of the songs reference birds, which Beckerman describes as about being transfixed by something you can't take your eyes o‑ while also being able to leave at will. Long is the Tunnel prolongs this feeling of being completely immersed: by desire, emotion, and fantasy, though the somber melancholy of her love songs are often more manifestations to her internal self than anyone else.

“A piece of music never truly comes to An end. Revisiting a theme illustrates this idea that life goes on.” These are the words of Wayne Shorter, uttered in 2018 upon the release of Emanon, his final opus. On this record, the octogenarian uses dusky hues to shade in the passions of his youth - drawing and science-fiction, as well as the causes he has defended all his life - the fight against ecological upheaval and structural racism. This sentiment did not fail to resonate with Julien Lourau, who has reached a stage in life where he has begun to look back over certain pages written by the man he has always considered one of the masters of his trade. Five years later, this Parisian native has also chosen to revisit his glory days, offering reworked versions of specific tracks composed by his titular elder throughout the 80s. “When I play this music, I find myself back in my teenage bedroom. These are my standards, and they remind me of autumn in Rambouillet.” At that time, after practising his scales, Julien would also play Dungeons & dragons, and immerse himself in SF as well as heroic fantasy - epic influences which are not without a certain connection to the dreamworlds Shorter conjured up, as another fan of landscapes beyond the grasp of reality.

This album features four themes taken from Atlantis, which came out in 1985, and two from Joy Ryder, released three years later. To these, he has added a composition penned at around the same time for Sportin’ Life, the penultimate LP by Weather Report. This is rounded off by a tune taken

from Native Dancer, the record which, ten years earlier, in 1975, brought together this saxophonist who learnt his trade alongside Art Blakey, before joining Miles’ second quintet, and Brazilian Milton Nascimento.

“Between Native Dancer and Atlantis, Shorter did not release anything under his own name, but he took the time and care to really perfect his writing. Upon his return, he injected a very Brazilian form of subtlety into his compositions, especially rhythmically. And from a harmonic point of view, these themes are extremely sophisticated, and reveal truly singular colours. In fact, he decided to display the score as if it constituted the liner notes of Atlantis.”

Julien Lourau is a fan of every Wayne Shorter era, from his Blue Note days, where Mr Gone defined the bases of a truly unique repertoire, all the way to his final quartet - a reference like no other. He decided to focus on this “highly electric” period, which is not necessarily Shorter’s best known, nor his most widely appreciated - despite being a unanimous reference, Shorter has nonetheless never had a direct descendent. In Lourau’s line of sight there lies a desire to focus on typically South American tonic accents which characterise this repertoire, twinned with the ambition to switch up their actual sound “by attempting to open up onto a production highly influenced by eighties fusion". However, he admits that modifying the structures of these most unique of worlds constituted a fresh challenge. “There’s this labyrinthine harmonic system where you’ve no idea how it holds together, but where it’s actually impossible to touch the slightest element without the whole edifice wavering. It is in fact a very difficult thing to achieve!”

In order to successfully transcribe all this creativity free of obstacles, Julien Lourau once again called upon the help of Mathieu Debordes. From January 2023 onwards, Mathieu endeavoured to break down all the musical elements, on paper, before creating any actual music. The record was therefore constructed on the faith of these scores, without necessarily transiting through a creative residency - just two live gigs, to make sure the setup worked. Besides Mathieu Debordes and his synthesisers, Julien Lourau has assembled an ad hoc team by his side. On the bass, according to the track, we can hear erstwhile companion Sylvain Daniel or a new acolyte on the fretless bass, Joan Eche Puig.

Stéphane Edouard, on percussion, even dives headfirst into an unlikely proto-rap of sorts, on Pearl On The Half Shell (where, on the original version, Bobby McFerrin adjusted his interventions in a rather madcap style). Aesthete and drummer Jim Hart as well as pianist Leo Jassef also figure on this release - both were present on previous project devoted to label

CTI. “At sixteen, I wanted to sound like Michael Brecker rather than Ben Webster - that was equated with modernity in those days”, adds Julien with a smile, as for him, all this rings out a little like a logical next step, a joyful immersion into the fountain of youth. And if, for this record, he plays the soprano more than ever, the saxophone Shorter set in his sights on, he never tries to replicate an unattainable ideal note by note. What would be the point?

“Wayne Shorter is not just a saxophonist’s saxophonist. In fact, I don’t know a single person who has risen to challenge of his solos. I have not done it myself either, but on the other hand, I have retained a lot of his phraseology. His way of approaching the instrument reveals a more evanescent language, a work on colour and shape. Keeping this in mind has allowed me to gravitate towards certain elements, that in hindsight, I find echoes of in my work, even in Groove Gang.” Shorter etches out these phrases, creating a groove within which Lourau had traced subtle punctuation, managing, from a highly written base, to create fresh apertures, promises of a great escape. Emblematic of this standpoint, his regal version of Ponte de Areia, originally a wonderful dialogue between Milton Nascimento and Wayne Shorter. Here, the Frenchman takes liberties with the original melodies, without ever growing distant from the original spirit, extending one section with delicacy, offering a rubato development and then a groove “like a little suite”. Julien Lourau also renews with an accomplice from last century, Magic Malik, who lends his high-pitched vocals to the track. Though they had not recorded together for more than twenty years, the two of them got on as if they had only ceased collaborating yesterday, everything flowed naturally. The track was wrapped up in just one take, much like other themes, such as opener Who Goes There where the flautist deploys smooth, enchanted and smoky wisps.

Fundamentally, reflecting of the sleeve which features a child playing with a ball, image that could symbolise the sun just as much as the moon, Julien Lourau manages to translate the ambiguous candour which characterizes Shorter’s work - solar and crepuscular at the same time, that of a visionary and poet definitively situated outside of all chronology, but with whom Julien shares surprising and ‘timely’ coincidences. Shorter was born August 25, 1933, the same day as Julien’s father, “if we take time zones into account”, and who died on Lourau’s birthday, March 2, 2023. Should we take this as a random fact? Or could we not see here the sign of a destiny connecting the agnostic Frenchman to the man who, as a fervent Buddhist, believed in the transmission of his spiritual flow ?

Originally released in 2008, MACHINE 15, celebrates it"s 15th anniversary with a long awaited vinyl repress, remastered for vinyl by Dan Swanö. With an impressive string of releases behind them, nearly two million records sold worldwide and having shared stages with the likes of Blink 182, the Foo Fighters and Queens of the Stone Age, the Orebro based quartet of vocalist/bassist Nikola Sarcevic, guitarists Erik Ohlsson and Mathias Farm and drummer Fredrik Larzon show that they are on top of their game. While upholding the classic Millencolin sound, they chose to diversify, evolve and progress on the new album The explosive result is pop infused punk at its all-time best with driving beats, anthemic choruses and irresistible melodies that prove the band is back to kick ass and take names. For Machine 15, Millencolin re-teamed with producer Lou Giordano (Sugar, Taking Back Sunday, Plain White T"s), who previously worked with the band on 2003"s Home From Home. "We wanted the kind of crisp sound that Lou is notorious for. Plus we have a great chemistry with him," guitarist Erik Ohlsson adds.

25th anniversary of this criminally under-appreciated compilation of Brazilian pop music (New! More! Better!), so we're putting it on vinyl for the first time.

It's been 10 years since we at Luaka Bop released our first compilation of Brazilian music. Beleza Tropical. It sold extremely well, 350,000 and still going strong, but alot has happened since then. This collection reflects the impact and energy of a new generation who rather than seeking to overturn or discredit the work of ist predecessors, wants to build on it, add to it, and continue absorbing greater and more contemporary influences.

Blue Cloud Vinyl. Hailing from Bozeman, MT, Kitchen Dwellers embody the spirit and soul of their home with a sonic palette as expansive as Montana's vistas. The quartet_Shawn Swain Mandolin, Torrin Daniels banjo, Joe Funk [upright bass], and Max Davies [acoustic guitar]_twist bluegrass, folk, and rock through a kaleidoscope of homegrown stories, rich mythology, American west wanderlust, and psychedelic hues. After amassing 5 million-plus streams, selling out shows, and receiving acclaim from Huffington Post, Relix, American Songwriter, and more, the group brings audiences back to Big Sky Country on their third full-length album, Wise River, working with Cory Wong of Vulfpeck as producer.In the end, Kitchen Dwellers share timeless American stories from the heart of one of its greatest treasures."When you listen to Wise River, I hope you hear some of the original qualities that made us who we are, but you also recognize aspects that are new and adventurous," Max leaves off. "I hope you hear what it sounds like when the four of us are at home and have the space to create something together. This album is really how we sound as a band."